The Shock of the New: The View from the Edge
Publication date 1979
Topics 16mm Film, , Educational Film, Expressionism (Art), Art, Modern, Art, American, Art, European, Series: The Shock of the New (1982)
Publisher [New York, N.Y.] : Time Life Video; R.M. Productions; British Broadcasting Corporation. Television Service
Profiles selected 19th century European and 20th century American and European artists, with emphasis on expressionism
Curatenote color: Goodsound: Goodsynch: Problematicnotes: Synch is slightly off - might not be worth correcting.
Ocr America. Oh. Realm where. Food. One. Of. The themes of not seen since Remember caught was the world in the spring. Experiences that go beyond go below our conscious can from. The grandeur of the outer world seen as a sacred place was the trace of God's creation and the conflicts and terrors of the you know well the I'm satisfied still. The search for these precarious images of man and nature was one of the great projects that the nineteenth century bequeathing the modernism. From. Classical time or three many centuries of Christianity. Man and Nature looking should have to be a little Arbel hostile goal. But in the nineteenth century. God died that artist weren't feeling to we'll either. Strangely enough it was in this illegal and scrape that one great fighter in his last years before suicide was to express his own sense of isolation in the world. This is the lunatic asylum of seventy to progress and south of France. For a year and I is from my eighteen eighty nine to May eighteenth ninety in some Van Gogh was under treatment just what he told us was nobody to this day is quite sure. One aspect of its symptoms that everybody knows about was that he cut off his elope and gave it to a prostitute in our he suffered as they say from manic depression which is an opaque way of skirting an issue that we still don't understand. Though you continually had terrible cries and how right. Beasts in a menagerie in spite of that people get to know each other very well and help each other when there are attacks come on when I'm working in the garden they all come to look and I assure you they have more discretion and good manners to leave me alone. The good people of the town about all. The garden on the asylum look much as they did invent Gosh time even his irises are still there. There are people who love nature even though they are cracked or ill those other painters. Then there are those who like what is made by men. Hands and these even go so far as to like pictures now here there are some patients there is seriously ill. The fear and Harada madness that I used to have is already much less and. He suffered from agonizing fits of paranoia and a kind of paralysis of the will accompany it by hundreds of nations during which you could work a tall and these were separated by long clear months during which he couldn't did which were in turn. Punctuated by the most extraordinary moments of visionary insights. That such moments everything you saw was swept up in a current of the energy. Everything he sees is made from the same plasma. The moon comes out of the clips the stars blames the sky he is like the ocean and the cypresses move with it. Then go or cypresses alike think Doc lightning conductors. Grounding the energies of the sky and the earth they are alive is no painted tree had ever been and there's no real Cypress could this the cypresses are always occupying my thoughts it is tarnishes me that they have never been done as I see them. To Cyprus is beautiful in line and proportion as an Egyptian. Our beliefs are special Black in a sunny landscape. Just outside the asylum war you can walk in Van Gough solid growth and measure the way that he changed it. Inventing the form of the dry grasses and the flickering blue shadows on them and turning the only trunks themselves into shapes like human body has grown old and arthritic with work again the continuous field of energy pouring through the light rising from the ground. Solidifying in the tracks you can see his landscapes motif by motif without necessarily seeing what he saw or. But then got a sense of a power behind the natural world was so strong that once you have seen the painting was you have no choice but to see the real places in terms of them. Another artist might have found these landscapes of twisted grey limestone formless unprintable. What Vanguard found in them was a perfect unity between the shapes of those strangely distorted rocks they have pierced plasticity and the details within them the grain of the rock I would scoop conveying how it resembles the grain of old only route. Silvery grade two. How to file shape is echoed in the close detail and how both accord with the shop a linear structure of his brush. One of these favorite sites was over the plane to like whoa who's flatter feels and pharaohs and trees were he said as going for not as the sea only better because people lived on them. To draw them he used an amazing range of notation. Every shape suggested by a different doctor or stroke or squiggle everything seemed nothing generalized about few drawings have this richness of surface it feels as though the life of the landscape is bursting through the paper so that the brown ink becomes almost as eloquent as the color in his painting. Then Gox paintings were not the work of a madman. They were done by an ecstatic It was also a great formal artist today the doctors were given lithium and tranquilizers and we wouldn't have the paintings perhaps we don't know. For then go confront of the world with a kind of in the secured joy. Nature was to him. Both exquisite and terrible it consoled him that it was his job. It was the fingerprints of God but the finger was always pointed at him. Sometimes the eye of God was to the yellow disk of the sun huge and listeners the emblem of Apollo. Water and God called the gravity of great sunlight affects filled his work not only with the flood of colour but also with the symbolism that one can only call religious the idea that human life is lived believe the laments exterior will and work like sowing and reaping is not simply work with an allegory of life and death. I saw in this report that a vague figures struggling like a devil in great heat to finish his task I saw been in it the image of death in the sense that humanity would be the week when reaps So it is if you like the opposite of the cellar I had tried before. I found it strange that I saw a like this through the on bars of us. Well. Such things did not come by chance then God knew what he was looking for when he came self and of course he found it. Bringing the highest spiritual ambitions of a lot of romantic from Holland. Into the landscape of the since he went there he wrote it because not only in Africa but Ramallah on would you are bound to find beautiful contrast red green blue and are in charge of the South lie like and all true color wrists must come to this must admit that there is another kind of car than that of the know. There was and he fixed it. There's no artist has done before or since. Then go horse thirty seven when he shot himself but in the last four years of his life he changed the history of the freedom of modernist color the way that emotions are worked upon directly by optical means was one of his legacy is as it progresses to us but then God has taken this even further than go because he had opened up a lot in a syntax to pity and terror as well as the formal research pleasure as he was the hinge upon which nineteenth century romanticism turned into twentieth century expressionism and as he lay dying. Another artist ten years younger and many hundreds of miles to the north was preparing to take this process a step further. Invent gust work you can see the self scratching to be let out but an adverb know it's the self is out. And if that bony Norwegian face which you scrutinized and painted for seventy years. Starting like a young and going through the stages of Bohemia a middle age to finish like a paranoid all the Viking if that face still haunts us it is because Monk was the first modern painter to explore the idea of the self as a battleground. Twenty five years ago there was not a general agreement about monks break this many people who should have known better. Kept on thinking of him as a sort of Gaunt psychotic for all his obsessive self inspection didn't make much sense below the Arctic Circle but today he seems in every way as Universal an artist is absent was trimmed. He was almost literally raised in the family sick room in a grid full atmosphere whispers silences vomits on the carbolic acid. Disease and that insanity with the black angels on dotted by cradle. In my childhood I felt always that I was treated in the mountain just way that a mother sick and with threaten punishment in have or hanging over my head. A great deal of monks creative life was spent exercising the demons of childhood the sickroom the praying faces the small twisting hands of anxious women the terrible apprehension that went with monks use of illness as a central metaphor visionary inside these surface in the paintings over and over again. So does the fear of women. One thought that they were vampire forces and not Social be. I meant jealousy misery tension on the loss of precious bodily fluids. Imagined lot was losing the struggle of the male against the female mantis he felt that men only had two choices to become straight out by famine for tile will get rejected. Version this painting puberty carries the clearest messages. Sex is all manners and hateful. Monks were also like had betrayed fantasies of rape and visions of woman was an invincible devour in his Madonna you can almost see the feet sticking out of a mouth. When Monk was at the height of his powers this disease some a studio as God strand a couple of hours back up today outside also. Before then Gaga cypresses but just treat us and before long this was just a stony for the intro beach with a grey horizon and appear and rocks and trees coming down to the water but only made it into it was one of the emblematic landscapes of the modern mud in his hands. It came to stand for alienation and loss and the yearning. My whole life has been spent walking by the side of a bottomless kept jumping from stone to stone. Sometimes I try to lead by narrow path I'm joined the swelling main stream of life but ours find myself drawn inexorably back towards the chasms age their actual war until the day I finally fall into the abyss. For as long as I can remember I've suffered from a deep feeling of anxiety which I tried to express my art without anxiety and illness I should have been like a ship without a rudder. Monk was one of the fathers of expressionism which was less a star or a unified movement than an attitude of mind the idea that reality was so distant from somehow graspable the great leaps of emotion must bridge the gap and that the only secure point in a hostile or indifferent world was the acid self. Monk sensible strange went in the crowd will these images of the city. I can see bad I never once mosques. Peacefully smiling faces pale corpses and then slowly when the torture was way down the road that leads to great. This feeling of anxiety and helplessness in the face of big cities was not confined to Monk order was low. Since the mid nineteenth century the image of the metropolises the devour of souls a place of the lonely crowd and artificial distractions have been seeping into often poetry so unit would be the main backdrop for European culture. Szabo delay or addressed Paris as his aunt's warming shitty city full of dreams where in broad day of the Spectre tugs your sleep. The of. The year. From the crowded boulevards in cafes or Paris a peculiarly ironic view of life was on the urge ng based on disposable style dandiest display fleeting encounter. The grimy areas of social mixture replace the ordered pyramid of rural France and they found their painter in on a reader to loosen your prick. In low trick seems of low life at the Moulin Rouge the face literally becomes the must. The Belgian painter James M. saw also picked up that image using it to convey the idea that society was not only a real but a sort of demonic carnival a collective of threatening masks. Arthur's list spontaneous than we think and there is no such thing as serious art without a formal language but the question was Where did one go for the language of extreme emotion the human shapes of loss and fright. Actors medical textbooks where. Well curiously enough one of the solutions that move found would seem to be in archaeology. The cultures of Spain are destroyed in South America or in the sixteenth century when beginning to acquire a certain amount of popular glamour in Paris in the late nineteenth incurs Gul lawsuit is in the jungle all that kind of thing. Now one of the minor sensations of the great Peris exposition waiting eighty nine was this. Which had been dug up in Peru it was buried in the fetal position which is to us I don't know about the anchors the archetype of emblem of fright and the desire for security. Paul Gauguin saw it at the Exposition and he was so moved by that he copied it. Monk was also very moved by it and so does to this withered features that used to be a man that we go probably the most famous image of neurosis in the history of art the scream. I stopped and leaned against the railing. Half dead with the T.V.. Over the gray blue fiord the clouds red as blood and tons of flame. Alone and trembling with fear. Ike's periods nature's great screed. This theme of the city as a condenser of anxiety also ran through German expressionism in the years between the turn of the century and world will want especially in the work of a group of officers which called itself do but look at the bridge meeting a bridge to the future. Their leader was a young painter named ELST new big character and transpose monks pisen ism into Van Gogh has come a added the influence of African Cummings and took the lead in this his favorite subject. It's streets it's Dan days and it's prostitutes. Kicks in a style that it's hatchings in shopping malls and house color was jittery and highly strung a visual analogy to cocaine. It was also rooted in a specifically German past German go think without the religious content full of skinny and repentant Mary Magdalene. These predatory ladies amongst faithful women writers to a picture of style I'm no the Norway and I take the image of the woman as castrator one step further towards pure glamour. I miss my first name is going to be going to be going on when you. Put in. British I dispute between Got married. Who threw out. When she. Got. Married. Who seem to cause. The put. It. In pre-war the enter the leading expressionist was the painter and playwright Oscar Kokoschka whose only work including his so called trips was more baroque some Gothic high strung elaborate switching between elation and misery that came out of the same million dollars fraud and Schoenberg that race moment when Vienna in the decay of its empire. Was one of the capitals of introspective modernism a Costco lived to ninety nicely and any sixty's he talked about his ambitions as a painter. That was so sharp on I went to sleep at the big fat like to listen and in the light relief and sun it's such such a gift. If educated It sounds like a spectator and it's not even do that want to be and is like I don't know I don't know you can see but it and all that I want to put this big a diversity option. There. Must be missed. OK now I want to be I mean you say and far far away in another year and sitting on the baby she thought I'm better at it. But so much to quote. From the very. Wrong though the face of all those I live it down the. Street. To mix it up so. In the trysting handsome strained faces of coke Oscar's portraits the office becomes the suit was accomplished not by giving him or her a socially useful mosque but by admitting a shared neurosis a kind of mutual abseiling ship. This very private intimate contract between Kokoschka and two sisters was strongest of all in one hundred twelve when he painted himself with Elmer Muller the great love of his life. His affair with models we don't know was so inspired to Costco to paint what is still the key image of expression Islam the tempest the two levels world along in a couple shell of a boat not on the sea but in space the shapes turbulent unbroken or highlights from darkness the air levels bodies from the boat caught up in the same ecstatic dissertation the fall. The chief expressionist in France it was a Polish Jew named I am soo team. He was Richard Lee poor and these up becoming a way of stealing the substance from the world he was obsessed with food. The scraggy chicken on the hook. Stared at for days. Life seen those meat preparation for death. To team could give the carcass of the law the pathos of the crucifixion. Imprinting that massive bone meat and fat he was paying homage to Rembrandt who had played with the same subject but suit scene gave it an even more intense come allergy by the think page itself were also opposed to meet smeared on the campus. Is landscapes particularly the ones we painted They'll say in the south of from C. in one hundred twenty to twenty two or even more turbulent like an extreme distortion of van Gogh the hills rewrap the houses lean like rags on the guy or the horizon strains against the sky and the whole scene becomes one mass of tumbling the sort of war planes. Soo teams brush looks like shit. Guts. Never had a landscape being so transported by emotion. The violence of the paint. Predicts the violence the good life of surface an American abstract painting but the images still concrete. After the Second World War The English by Joe Francis Bacon to cops who teams theme of the dismembered caucus to search tool of his own vision of a cannibal world from which all moral relationships of being a writer. I have to try to be as realistic in my way if I can be after all you only have to think about life or have experienced it. Anyway all think about the meat on your plate to think how disturbing what is called reality is and we are nearly everybody lives their life free from it and if I picked as seem to give. A kind of sense of balance all more tell it. It's only in the pin to be as realistic as I can mind you when you talk about realism I can only paint for myself I don't paint for anybody else but for myself because you can't you try to bring the thing back onto your own system in its most poignant for me. In bacon the ideal body of classical art has dismissed the nude becomes a two legged animal with addiction is. One of these sources risk but Ta graffiti the early sequential photos of human action by Edward my bridge in my bridges book Animal locomotion the naked body you studied with perfect attachment as a machine. My bridge is just wrong and state. Has every way that a person moves stands moves there is anything else has not only its movement that may say all the implications of that movement as well. In Bacon's paintings were all sexuality is turned into violence the sort of dog like grappling in closed rooms whose furnishings you can't identify the beard suggest to code your an operating table the walls and floor the color of bad motel. Yet the fragments of a traditional look behind the images and one of Bacon's obsessive emblems Rose Bowl last cruise portrait of Pope Innocent the tent. I was particularly obsessed by that US is painting of the pope and. I was the same time very interested by Eisenstein photograph in Potemkin. And I made a combination which I think has been unsuccessful. All of the pope. Screaming in the way that the US Now the screen was NO to do with expressionism because I'm not expressionistic I've nothing to express. Was of salt by the idea of the color of them out of the T.V. the saliva you may say the beautiful red and pulls of the interior of the mouth rather like mommy was obsessed by haystack and the line forming on them. In the face of paintings like this you may will feel the bacon has a great deal of experience.
Run time 31:32
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Worldcat (source edition) 19459703